As soon as you introduce a specific diminution, that figure becomes a motive in your piece. Using many different types of diminutions reduces the sense of cohesiveness of your composition.
Even the pattern of diminutions becomes an expectation that should usually be fulfilled. Below is an example from The Pianist’s Guide to Historic Improvisation by John Mortensen that exemplifies this:
When writing diminution in two or more parts at the same time, make sure to avoid parallel perfect intervals and favor parallel imperfect consonances (3rds and 6ths).
The following example shows many ways to apply diminution to a two-part underlying voice leading patter:
Derek Remeš: ‘Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade’
And here are more models (without diminution) to practice with:
Derek Remeš: ‘Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade’
